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How might we develop products made with and by disabled users
rather than for them? Could we change living and working spaces to
make them accessible rather than designing products that "fix"
disabilities? How can we grow our capabilities to make designs more
“bespoke” to each individual? After Universal Design brings
together scholars, practitioners, and disabled users and makers to
consider these questions and to argue for the necessity of a new
user-centered design. As many YouTube videos demonstrate, disabled
designers are not only fulfilling the grand promises of DIY design
but are also questioning what constitutes meaningful design itself.
By forcing a rethink of the top-down professionalized practice of
Universal Design, which has dominated thinking and practice around
design for disability for decades, this book models what inclusive
design and social justice can look like as activism, academic
research, and everyday life practices today. With chapters, case
studies, and interviews exploring questions of design and personal
agency, hardware and spaces, the experiences of prosthetics' users,
conventional hearing aid devices designed to suit personal style,
and ways of facilitating pain self-reporting, these essays expand
our understanding of what counts as design by offering alternative
narratives about creativity and making. Using critical perspectives
on disability, race, and gender, this book allow us to understand
how design often works in the real world and challenges us to
rethink ideas of "inclusion" in design.
Making Disability Modern: Design Histories brings together leading
scholars from a range of disciplinary and national perspectives to
examine how designed objects and spaces contributes to the meanings
of ability and disability from the late 18th century to the present
day, and in homes, offices, and schools to realms of national and
international politics. The contributors reveal the social role of
objects - particularly those designed for use by people with
disabilities, such as walking sticks, wheelchairs, and prosthetic
limbs - and consider the active role that makers, users and
designers take to reshape the material environment into a usable
world. But it also aims to make clear that definitions of
disability-and ability-are often shaped by design.
Designing Disability traces the emergence of an idea and an ideal -
physical access for the disabled - through the evolution of the
iconic International Symbol of Access (ISA). The book draws on
design history, material culture and recent critical disability
studies to examine not only the development of a design icon, but
also the cultural history surrounding it. Infirmity and illness may
be seen as part of human experience, but 'disability' is a social
construct, a way of thinking about and responding to a natural
human condition. Elizabeth Guffey's highly original and
wide-ranging study considers the period both before and after the
introduction of the ISA, tracing the design history of the
wheelchair, a product which revolutionised the mobility needs of
many disabled people from the 1930s onwards. She also examines the
rise of 'barrier-free architecture' in the reception of the ISA,
and explores how the symbol became widely adopted and even a mark
of identity for some, especially within the Disability Rights
Movement. Yet despite the social progress which is inextricably
linked to the ISA, a growing debate has unfurled around the symbol
and its meanings. The most vigorous critiques today have involved
guerrilla art, graffiti and studio practice, reflecting new
challenges to the relationship between design and disability in the
twenty-first century.
How might we develop products made with and by disabled users
rather than for them? Could we change living and working spaces to
make them accessible rather than designing products that "fix"
disabilities? How can we grow our capabilities to make designs more
“bespoke” to each individual? After Universal Design brings
together scholars, practitioners, and disabled users and makers to
consider these questions and to argue for the necessity of a new
user-centered design. As many YouTube videos demonstrate, disabled
designers are not only fulfilling the grand promises of DIY design
but are also questioning what constitutes meaningful design itself.
By forcing a rethink of the top-down professionalized practice of
Universal Design, which has dominated thinking and practice around
design for disability for decades, this book models what inclusive
design and social justice can look like as activism, academic
research, and everyday life practices today. With chapters, case
studies, and interviews exploring questions of design and personal
agency, hardware and spaces, the experiences of prosthetics' users,
conventional hearing aid devices designed to suit personal style,
and ways of facilitating pain self-reporting, these essays expand
our understanding of what counts as design by offering alternative
narratives about creativity and making. Using critical perspectives
on disability, race, and gender, this book allow us to understand
how design often works in the real world and challenges us to
rethink ideas of "inclusion" in design.
Designing Disability traces the emergence of an idea and an ideal -
physical access for the disabled - through the evolution of the
iconic International Symbol of Access (ISA). The book draws on
design history, material culture and recent critical disability
studies to examine not only the development of a design icon, but
also the cultural history surrounding it. Infirmity and illness may
be seen as part of human experience, but 'disability' is a social
construct, a way of thinking about and responding to a natural
human condition. Elizabeth Guffey's highly original and
wide-ranging study considers the period both before and after the
introduction of the ISA, tracing the design history of the
wheelchair, a product which revolutionised the mobility needs of
many disabled people from the 1930s onwards. She also examines the
rise of 'barrier-free architecture' in the reception of the ISA,
and explores how the symbol became widely adopted and even a mark
of identity for some, especially within the Disability Rights
Movement. Yet despite the social progress which is inextricably
linked to the ISA, a growing debate has unfurled around the symbol
and its meanings. The most vigorous critiques today have involved
guerrilla art, graffiti and studio practice, reflecting new
challenges to the relationship between design and disability in the
twenty-first century.
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